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Hudson 


Shepherd  in  the  Distance 


■"HE  SHEPHERD 
M  THE  DISTANCE 

A  Pantomime  in  Three  Scenes 


By  HOLLAND  HUDSON 


STEWART  KIDD 

•MODERN    PLAYS  • 

COIXED    BV   FRANK  SMA^T 


TO  BE  PUBLISHED  SHORTLY 

Fifty   Contemporary    One -Act   Plays 

Edited  by  Frank  Shay  and  Pierre  Loving 

This  volume  contains  FIFTY  REPRESENTATIVE  ONE-ACT 
PLAYS  of  the  MODERN  THEATRE,  chosen  from  the  dramatic 
works  of  contemporary  writers  all  over  the  world. 

THE  CONTENTS  ARE 


AUSTRIA: 
Schnitzler  (Arthur)-Llterature 

BELGIUM: 
Maeterlinck  (Maurlce)-The  Intruder 

BOLIVIA: 
More  (Fcderico)-Interlude 

FRANCE: 
Ancey  (George)-M.  LambUn 
Porto  -  Riche    (Georges)  -  Francoise'a 
Luck 

GERMANY: 

Ettlinger  (KarD-Altrulsm 

von  Hofmansthal  (Hugo)- Madonna 

Dianora 
Wedekind  (Frank)-The  Tenor 

GREAT  BRITAIN: 
Bennett  (Arnold)-A  Good  Woman 
Calderon  (George)-The  Little  Stone 

House 
Cannan  (Gilbertj-Mary's  Wedding 
Dowson  (Ernest)  -  The  Pierrot  of  the 

Minute 
Ellis  (Mrs.  Havelock)-The  Subjection 

of  Kezia 
Hankin   (St.    John) -The     Constant 

Lover 

INDIA: 
Mukerjl    (Dhan    Gopal)-The    Judg- 
ment of  Indra 

IRELAND: 
Gregory  (Lady)-The  Workhouse  Ward 

HOLLAND: 

SpeenhoS  (J.  H.)-Louise 

HUNGARY: 
Biro  (Lajos)-The  Grandmother 

ITALY: 
Giacosa  (Giuseppe)-The  Rights  of  the 
Soul 

RUSSIA: 
Andreyev     (Leonid)  -  Love    of    One's 

Neighbor 
Tchekofif  (Anton)-The  Boor 


SPAIN: 
Benevente    (Jacinto)  -  His    Widow's 

Husband 
Quinteros     (Serafina     and     Joaquin 

Alvarez) -A  Sunny  Morning 

SWEDEN: 
Strindberg  (Augu8t)-The  Creditor 
Wied  (Gustave) -Autumn  Fires 

UNITED  STATES: 
Beach  (Lewis) -Brothers 
Cowan  (Sada)-In  the  Morgue 
Crocker    (Bosworth)-The  Baby  Car- 
riage 
Cronyn  (George  W.)-A  Death  in  Fever 

Flat 
Da  vies  (Mary  Carolyn)-The  Slave  with 

Two  Faces 
Day  (Frederic  L.)-The  Slump 
Flanner  (Hildegarde)-Mansion8 
Glaspell  (Susan)-Trifles 
Gerstenberg  (Alice)-The  Pot  Boiler 
Helburn  (Theresaj-Enter  the  Hero 
Hudson  (Holland)-The  Shepherd  in 

the  Distance 
Kemp    (Harry)  -  Boccaccio's    Untold 

Tale 
Langner    (Lawrence)  -  Another    Way 

Out 
Millay    (Edna  St.    Vincent)-Aro   da 

Capo 
Moeller  (Philip)-Helena'8  Husband 
MacMillan     (Mary)-The     Shadowed 

Star 
O'Neil  (Eugene)-IIe 
Stevens  (Thomas  Wood)-The  Nursery 

Maid  of  Heaven 
Stevens    (Wallace) -Three    Travelers 

Watch  a  Sunrise 
Tompkins  (Frank  G.)-Sham 
Walker  (Stuart)-The  Medicine  Show 
Wellman  (Rita)-For  All  Time 
Wilde  (Percival)-The  Finger  of  God 

YIDDISH: 
Ash  (Sholom)-Night 
Plnski  (Davld)-Forgotten  Souls 


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STEWART  KIDD  MODERN  PLAYS 

Edited  by  Frank  Shay 


The  Shepherd  in  the  Distance 


Stewart  Kidd  Modern  Plays 

Edited  by   Frank  Shay 

TO  MEET  the  immensely  increased  de- 
mands of  the  play-reading  public  and  those 
interested  in  the  modern  drama,  Stewart  &  Kidd 
Company  are  issuing  under  the  general  editor- 
ship of  Frank  Shay  a  series  of  plays  from  the 
pens  of  the  world's  best  contemporary  writers. 
No  effort  is  being  spared  to  secure  the  best 
work  available,  and  the  plays  are  issued  in  a 
form  that  is  at  once  attractive  to  readers  and 
suited  to  the  needs  of  the  performer  and 
producer. 

From  time  to  time  special  announcements  will 
be  printed  giving  complete  lists  of  the  Plays. 
Those  announced  thus  far  are: 

SHAM,  a  Social  Satire  in  One  Act. 
By  Frank  G.  Tompkins. 
Originally  produced  by    Sam  Hume,    at  the 
Arts  and  Crafts  Theatre,  Detroit. 

THE  SHEPHERD  IN  THE  DISTANCE, 

a  Pantomime  in  One  Act.  By  Holland  Hudson. 
Originally  produced  by  the  Washington  Square 
Players. 

MANSIONS,  a  Play  in  One  Act. 
By  Hildegarde  Planner. 

Originally  produced  by  the  Indiana  Little 
Theatre  Society. 

HEARTS  TO  MEND,  a  Fantasy  in  One  Act. 
By  H.  A.  Overstreet. 

Originally  produced  by  the  Fireside  Players, 
White  Plains,  N.  Y. 

Others  to  follow. 
Bound  in  Art  Paper    Bach  net  50  cents. 


THE  SHEPHERD  IN  THE 
DISTANCE 

A  PANTOMIME  IN  THREE  SCENES 


By 

HOLLAND  HUDSON 


First  produced    by  the  WASHINGTON   SQUARE 
PLAYERS  at  the  Bandbox  Theatre,  New  York  City 


STEWART  &  tIDD 


QNONNATT.  as.  K 


CINCINNATI 

STEWART  &  KIDD  COMPANY 

PUBLISHERS 


Copyright,  1921 
STEWART  &  KIDD  COMPANY 


All  Rights  Reserved 
Copyrighted  in  England 


This  pantomime  is  fully  protected  by  the  copyright  law,  all  require- 
ments of  which  have  been  complied  with.  No  performance,  either  pro- 
fessional or  amateur,  may  be  given  without  the  written  permission  of  the 
author's  representative,  Frank  Shay,  who  may  be  addressed  in  care  of  the 
publishers,  Stewart  &  Kidd  Company,  Cincinnati,  Ohio. 


The  Shepherd  in  the  Distance 

A  PANTOMIME 
By  Holland  Hudson 


The  Shepherd  in  the  Distance  was  first  produced 
by  the  Washington  Square  Players,  at  the  Bandbox 
Theatre,  New  York  City,  on  the  night  of  March  26, 
191 5,  with  the  following  cast: 

The  Princess Frances  Paine 

The  Attendant Beatrice  Savelli 

The  Shepherd Robert  Locker 

The  Wazir Jrvid  Paulson 

The  Vizier John  Alan  Houghton 

Ghurri-Wurri  {the  Beggar) .Harry  Day 

The  Goat E.  J.  Ballantine 

Slaves  of  the  Princess.  .  .  .Josephine  Niveson 

Edwina  Behre 

The  Maker  of  Sounds  .  .  .  .Robert  Edwards 

Produced  under  the  direction  of  William  Penning- 
ton.   Scenes  and  costumes  designed  by  Robert  Locker. 


.1109231 


PROGRAM 

the  persons 
The  Princess 
The  Attendant 
The  Slaves 

The  Wazir  [her  guardian] 
The  Vizier 
The  Nubian 
The  Shepherd 
The  Goat 
Ghurri-Wurri 
The  Maker  of  Sounds 

THE  action 

I.     The  Princess  beholds  The  Shepherd  in  the 
Distance  and  goes  in  quest  of  him. 

II.  Ghurri-Wurri,  enraged  by  the  Princess' 
meagre  alms,  swears  vengeance. 

III.  He  reveals  her  destination  to  the  Wazir. 

IV.  Pursuit  ensues. 

V.  The  Princess  meets  The  Shepherd  in  the 
Distance.  Her  capture  is  averted  by 
the  faithful  Goat. 

VI.     The  Goat's  long  head  evolves  a  means  of 
rescuing  The  Shepherd  from  the  cruel 
Wazir. 
VII.     The  Princess  joins  The  Shepherd  in  the 
Distance. 


THE 

SHEPHERD  IN  THE  DISTANCE 


THE  STORY^ 


Of  the  Princess,  we  know  only  that  she  was  fair 
and  slender  as  the  lily,  that  somehow  the  fat  and 
stupid  Wazir  became  her  guardian,  and  that  he 
neglected  her  utterly  and  played  chess  eternally 
in  the  garden  with  his  almost-equally-stupid  Vi- 
zier.    Is  it  any  wonder  she  was  bored? 

One  afternoon  the  Princess  called  for  her  ivory 
telescope,  and,  placing  it  to  her  eye,  sought  relief 
from  the  deadly  ennui  which  her  guardian  caused. 
In  the  Distance  she  discerned  a  Shepherd,  play- 
ing upon  his  pipe  for  the  dancing  of  his  favorite 
Goat.  While  he  played  the  Princess  marveled 
at  his  comeliness.  She  had  never  seen  before  a 
man  so  pleasing  in  face  and  person.  At  the  end 
of  his  tune  it  seemed  to  her  that  the  Shepherd 
turned  and  beckoned  to  her.  She  dared  watch 
him  no  longer,  lest  her  guardian  observe  her. 

When  the  Wazir,  the  Vizier  and  the  Nubian 
were  deep  in  their  afternoon  siesta,  the  Princess 
stole  out  of  the  garden  with  her  personal  retinue 
and  her  small  but  precious  hope  chests,  and  set 
forth  toward  the  Distance. 

Now  on  the  highway  between  the  foreground 
and  the  Distance  lived  a  wretched  and  worthless 
beggar  who  had  even  lost  his  name  and  was  called 
Ghurri-Wurri  because  he  looked  absolutely  as 
miserable  as  that.    He  pretended  to  be  blind  and 

*A  synopsis  for  readers  only. 

7 


THE  SHEPHERD  IN  THE  DISTANCE 


iJ-^f 


wore  dark  spectacles.  The  greatest  affliction  of 
his  life  was  that  his  dark  spectacles  prevented 
him  from  inspecting  the  coins  that  fell  on  his  palm, 
and  he  received  more  than  his  share  of  leaden 
counterfeits. 

When  Ghurrl-Wurri  observed  the  approach  of 
the  Princess  and  her  retinue  he  reasoned  from  the 
richness  of  their  attire  that  alms  would  be  plenti- 
/  ful  and  large  and  he  fawned  and  groveled  before 
them.  The  Princess  was  generous,  but  she  was 
also  in  haste,  so  bade  her  attendant  give  him  the 
first  coin  that  came  to  hand,  and  hurried  on. 

Ghurri-Wurri's  rage  knew  no  bounds.  He 
wept,  he  stamped,  he  shook  his  fists,  he  railed,  and 
he  cursed.  Then,  perceiving  the  Princess'  desti- 
nation, he  made  haste  to  notify  her  guardian.  The 
Wazir  would  not  believe  him  at  first  and  the  beg- 
gar would  have  lost  his  head  if  he  had  not  hap- 
pened on  the  Princess'  telescope  and  placed  it  in 
the  Wazir's  hand. 

Gazing  toward  the  Distance,  the  Wazir  saw 
the  Princess  and  her  retinue  nearing  their  desti- 
nation. He  lost  his  temper  and  did  all  of  the 
undignified  things  which  Ghurri-Wurri  had  done. 
Then,  with  the  Vizier  and  the  Nubian,  he  set  forth 
in  pursuit,  forcing  the  reluctant  Ghurri-Wurri  to 
guide  them.  They  ran  like  the  wind,  till  the  beg- 
gar gasped  and  staggered,  only  to  be  jerked  to 
his  feet  and  forced  on  by  the  implacable  Vizier, 
who  was  cruel  as  well  as  stupid. 

Meanwhile  the  Princess  arrived  in  the  Dis- 
tance. The  Shepherd,  who  was  as  wise  as  he  was 
comely,  had  proper  regard  for  her  rank  and 
danced  in  her  honor  to  his  own  piping.  They 
had  scarcely  spoken  to  each  other  when  the  faith- 

8 


THE  SHEPHERD  IN  THE  DISTANCE 

ful  Goat  warned  them  of  the  furious  approach  of 
the  raging  Wazir.  The  Goat  carried  the  Princess 
to  a  place  of  safety  on  his  back  while  the  Shep- 
herd stayed  to  delay  her  pursuers.  Of  the  Nubian 
he  made  short  work  indeed,  but  the  Vizier  over- 
came him  with  his  great  scimitar  and  they  led 
him  captive  to  the  garden,  leaving  Ghurri-Wurri 
cursing  on  the  sands. 

Arrived  at  the  garden,  the  WazIr  ordered  the 
Shepherd  bound  in  chains  and  went  on  with  his 
chess  game.  The  Shepherd,  in  a  gesture  of  de- 
spair, came  upon  the  Princess'  telescope  and,  seek- 
ing some  ray  of  hope,  gazed  into  the  Distance. 
Here  he  saw  the  Princess  and  his  faithful  Goat, 
who,  he  perceived,  had  invented  a  plan  for  his 
deliverance. 

Soon  the  Princess  returned  to  the  garden,  but 
disguised  as  a  wandering  dancer.  She  danced  be- 
fore the  Wazir  and  pleased  him  so  much  that  he 
bade  her  come  nearer.  She  did  so,  and  bound  the 
Vizier's  arms  with  a  scarf,  which  so  amused  the 
Wazir  that  he  laughed  loud  and  long.  Then  she 
bound  the  Wazir's  arms  in  the  same  manner  and 
it  was  the  Vizier's  turn  to  laugh.  Into  their  laugh- 
ing mouths  she  thrust  two  poisoned  pills,  so  that 
in  another  instant  they  fell  over,  quite  dead, 
amongst  the  chessmen. 

The  omnivorous  Goat  delivered  the  Shepherd 
from  his  chains  with  his  strong  teeth  and  they  all 
returned  to  the  Distance,  where  they  still  dwell 
in  more-than-perfect  bliss  and  may  be  discerned 
through  an  ivory  telescope  any  fine  afternoon. 


THE  SHEPHERD  IN  THE  DISTANCE 


CONCERNING  THE  SCENERY 

In  the  original  production  by  The  Washington 
Square  Players,  The  Shepherd  in  the  Dis- 
tance was  played  in  front  of  backgrounds  of 
black  velvet.  The  garden  scene  consisted  of  a 
black  velvet  drop  about  half-way  between  the  cur- 
tain and  back-wall,  upon  which  a  decorative  white 
design  merely  suggesting  the  garden  and  its  gate 
was  appliqued.  This  drop  was  made  in  three  sec- 
tions, the  middle  one  hung  on  a  separate  set  of 
lines  so  that  it  could  be  raised  to  show  the  "Dis- 
tance" (as  seen  through  the  telescope)  without 
disturbing  the  rest  of  the  scene. 

The  "Distance"  consisted  of  a  velvet  drop  hung 
slightly  behind  the  middle  section  of  the  garden 
scene,  on  the  middle  of  which  two  large,  white 
concentric  circles  were  appliqued  around  a  circu- 
lar opening  about  five  feet  in  diameter.  The  bot- 
tom of  the  opening  was  about  eighteen  inches 
above  the  stage.  Behind  this  stood  a  platform 
just  large  enough  to  hold  four  characters  at  one 
time.  Black  masking  drapes  were  provided  at 
both  sides  of  the  stage  and  behind  the  platform. 

The  Prologue,  Scenes  II,  IV,  V,  the  first  part 
of  Scene  VII  and  the  Epilogue  were  all  played 
before  a  plain  velvet  drop  hung  a  few  feet  up- 
stage of  the  curtain  line. 

The  Shepherd  in  the  Distance  has  also 
been  produced  in  colors  very  effectively  by  the 
Hollywood  Community  Theater,  at  Hollywood, 
California.  There  is  no  reason  why  any  highly 
decorative  treatment  of  scenery  and  costuming 
will  not  enhance  the  production  if  it  be  well 
planned  and  consistent  throughout. 


lO 


THE  SHEPHERD  IN  THE  DISTANCE 


IMPORTANT    PROPERTIES 

The  properties  consist  principally  of  a  small 
chess  table  with  most  of  the  chessmen  glued  on, 
two  stools,  a  telescope,  a  balloon  and  papier- 
mache  chain,  which  are  employed  as  a  ball  and 
chain,  a  very  large  Chinese  crash  cymbal  for  the 
stage  manager's  use,  and  such  personal  properties 
as  occur  in  the  text. 

COSTUMES  AND  MAKE-UP 

Whatever  scheme  is  selected  for  the  scenery, 
the  costumes  and  make-up  should  be  consistent 
with  it.  In  the  original  production,  all  of  the 
characters  but  the  Nubian  were  made  up  com- 
pletely with  clown  white  or  "Plexo,"  the  eyebrows 
and  eyes  outlined  in  black  and  the  mouths  rouged 
but  slightly.     No  unwhitened  flesh  was  visible. 

The  Princess  wore  a  white  satin  pseudo-Orien- 
tal costume  with  stiff  ruffs  at  the  collar,  wrists 
and  knees,  the  trousers  not  gathered  at  the  an- 
kles, a  flat,  close-fitting  turban  with  a  number  of 
ornaments  and  a  hanging  veil,  and  white  slippers. 
In  the  dance  in  Scene  VI  she  used  a  long,  black 
gauze  scarf  and  a  white  one.  Her  attendant  wore 
a  similar  costume  of  cheaper  material,  an  unor- 
namented  turban  and  black  slippers.  Her  slaves 
were  also  similarly  garbed,  in  cotton,  but  with 
bulkier  turbans,  and  baggy  trousers,  gathered  at 
the  ankles. 

The  Wazir,  armed  with  a  preposterous  "cor- 
poration," wore  baggy  white  trousers,  gathered 
at  the  ankles,  a  sleeveless  vest  with  wide,  horizon- 
tal black-and-white  stripes,  a  white  cloak  hanging 
from  his  shoulders  which  terminated  in  a  large, 

II 


THE  SHEPHERD  IN  THE  DISTANCE 


black  tassel,  a  turban,  a  beard  made  of  several 
lengths  of  black  portiere  cord  sewed  to  white 
gauze,  and  white,  pointed  shoes.  His  bare  arms 
were  whitened,  his  eyebrows  were  short,  thick 
and  high  up  on  his  forehead,  and  he  carried  a 
black  snuff-box. 

The  Vizier's  white  trousers  were  not  so  full 
as  the  Wazir's ;  his  tight,  white  vest  had  tight, 
white  sleeves;  his  cloak  was  shorter  and  without 
a  tassel.  His  white  turban,  however,  was  dec- 
orated with  antennae  of  white  milliner's  wire.^  He 
affected  high-arching  eyebrows,  a  long,  pointed 
nose,  a  drooping  moustache,  and  a  disdainful 
mouth;  carried  a  white,  wooden  scimitar  about 
four  feet  long  with  a  black  handle,  and  wore  bells 
on  his  pointed,  white  shoes. 

The  Nubian  wore  black  tights  and  shirt,  black 
slippers  and  a  white  skull  cap  and  breech-clout. 
The  rest  of  him,  excepting  his  eyes  and  mouth, 
which  were  whitened,  was  a  symphony  in  burnt 

cork. 

The  Shepherd  wore  white,  knee-length  trunks, 
frayed  at  the  ends,  a  little  drapery  about  the  upper 
man,  slippers  and  a  cap.  His  body  was  whitened 
abundantly  and  he  carried  a  tiny  flute. 

The  Goat  wore  a  white,  furry  skin,  horns  and 
foot  and  hand  coverings  resembling  hoofs.  His 
make-up  approached  the  animal's  face  as  nearly 
as  possible. 

Ghurri-Wurrl  wore  tattered,  white,  baggy 
trousers,  vest  and  cloak,  a  turban  and  black  gog- 
gles. 

The  Maker  of  Sounds  was  garbed  in  an  all- 
enveloping  white  burnous  and  a  white  skull-cap. 


12 


THE  SHEPHERD  IN  THE  DISTANCE 


A  FEW  STAGE  DIRECTIONS 

Left  to  right,  in  this  text,  refers  to  the  actor's, 
not  the  spectator's,  point  of  view.  The  action  of 
the  piece  is  meant  to  be  two-dimensional;  the 
actors  are  to  perform  in  profile  as  far  as  possible, 
except  when  registry  of  facial  expression  is  im- 
portant; the  action  should  be  parallel  with  the 
back  drop. 

The  entire  action  must  be  rhythmical  and  the 
rhythms  should  be  used  as  definite  themes,  one 
for  the  Princess  and  her  retinue,  another  for  the 
Wazir,  etc.  The  performance  should  be  ex- 
tremely rapid  and  must  never  drag.  The  cast 
should  direct  special  attention  to  the  comic  fea- 
tures, and  the  director  to  the  pictorial  elements 
of  the  piece.  The  director  may  consider  the  per- 
formance as  an  animated  poster  which  moves 
rapidly  from  design  to  design. 


13 


THE  SHEPHERD  IN  THE  DISTANCE 

A  Pantomime 

By  Holland  Hudson 

prologue 

l^The  curtain  rises  on  a  plain  drop  curtain.  The 
Maker  of  Sounds  enters  with  his  arms  full  of 
instruments,  crosses  the  scene  and  sits  with  his 
back  against  one  side  of  the  proscenium,  out- 
side the  curtain  line.  He  tries  out  all  his  instru- 
ments, wind,  string,  percussion  and  "traps." 
He  yawns.  He  becomes  impatient  and  raps 
on  the  stage.^ 

Cymbal  crash  The  lights  go  out 

The  drop  is  lifted  in  the  dark- 
ness 
Cymbal  crash  The  lights  are  turned  on 

SCENE    I   

[The  Wazir's  garden.  Discovered  left  to  right, 
the  Nubian,  standing  with  folded  arms,  the 
Vizier,  seated  at  the  chess  table,  playing  with 
the  JVazir.  At  the  other  side  of  the  stage,  the 
Princess,  her  attendant,  her  two  slaves.  All 
stand  motionless  until  set  in  action  by  the  Maker 
of  Sounds.^ 

The  Music  The  Pantomime,  etc. 

Tap — on    Chinese   Nubian  unfolds  his  arms 

wood  block 
Tap  He  salaams 

Tap  Resumes  original  pose 

14 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

The  Pantomime,  etc. 

Tap 

Vizier  moves  a  chessman 

Tap 

JVazir  moves  a  chessman 

Tap 

Vizier  moves  a  chessman 

Tap 

Wazir  picks  up  snuff-box 

Tap 

Opens  it 

Tap 

Offers  Vizier  snuff 

Tap 

Vizier  takes  a  pinch 

Sand  blocks 

Sniffs  it 

Drum 

crash 

Vizier  sneezes 

Drum 

crash 

Sneezes  again 

No  sound 

Sneezes  again 

Nubian  sneezes  synchronously 
with  Vizier's  paroxysms 

Tap 

Vizier  returns  snuff-box 

Tap 

Wazir  puts  it  away 

Bell 

Princess  yawns 

Tap 

Signals  her  attendant 

Tap 

Attendant  picks  up  telescope 

Tap 

Hands  It  to  Princess 

Wind 

instrument 

Princess  uses  telescope 

[The  middle  portion  of  the 
back    drop    is    lifted    to 
show  the  "Distance"   in 
which    the    Shepherd    is 
discovered  piping  for  the 
Goat's  dancing] 

15 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

The  Pantomime^  etc. 

Stringed  instru- 
ment 

The  Shepherd  sees  the  Prin- 
cess, stops  piping,  and  de- 
clares his  adoration  across 
the  distance.     He  beckons 
her  to  join  him 

Princess  promises  to  do  so 
'The  lifted  portion  of  the 
drop   is   lowered   again. 
The    "Distance"    van- 
ishes^ 

Tap 

Princess  signals  to  her  retinue 

Tap 

Attendant  relays  the  signal 

Tap 

Slaves  stoop 

Tap 

Lift  the  hope  chests  to  their 
shoulders 

Bass    chord   on 
stringed   instru- 
ment 

Princess  and  retinue  take  one 
step  downstage 

Treble  chord 

All   lean    forward,    watching 
Wazir 

Drum  crash 

JVazir  and  Vizier  stand  up 

Drum  crash 

They  glare  at  Princess 

Tap  on  wood  block 

They  sit 

Bass  chord 

Vizier  yawns 

Bass  chord 

Wazir  yawns 

Bass  chord 

Nubian  yawns 

Bass  chord 

Vizier  nods 

Bass  chord 

Wazir  nods 

Bass  chord 

Nubian  drops  on  one  knee 
i6 

THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Treble  chord 

Bass  chord 


Cymbal  crash 


Cymbal  crash 


The  Pantomime,  etc. 

Princess  and  retinue  lean  for- 
ward. 

They  take  one  step 

[A  continuation  of  this 
business.  Takes  them 
off  at  the  left] 

The  lights  go  out 

[In  the  darkness,  Princess 
and  retinue  cross  to  right 
of  stage,  ready  for 
Scene  II] 

The  plain  drop  is  lowered 

The  lights  come  up 


Tambourine      jin- 
gles 


Tap  on  piece  of 
crockery 

Sand  blocks 

Tap  crockery 

Begins  the  Prin- 
cess rhythm  on 
Chinese  wood 
block 


SCENE    II   — 

G  h  ur  r  i  -  Wurri  discovered 
above  at  center,  with  his 
dark  glasses  pushed  up  on 
his  forehead,  counting  his 
money 

He  finds  a  bad  coin 

Bites  It 

Throws  it  away 

Hears  the  Princess  retinue  ap- 
proaching 


He  pulls  glasses  over  his  eyes 


17 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

Telegraphically 
expressed  it  is: 

•  ••      •••      •••       ••• 

Musically,  a  c  - 
cented  triplets, 
common  time, 
presto 

Princess  rhythm 
continues 

Drum  crash 


Tap 
Tap 
Tap 

Tap 

Tap,  Tap,  Tap 

Tap 

Tap  on  crockery 

Princess  rhythm 

Begin  drum  roll 
pp.  cresc.  to  f. 


The  Pantomime^  etc. 
He  grovels 


Princess  and  retinue  enter 
from  the  right 

They  pass  by  Ghurri-Wurri 
without  pause 

Ghurr'i-W urr'i  runs  ahead  and 
prostrates  himself  before 
the  Princess 

Princess'  retinue  halts 
Princess  signals  to  attendant 

Attendant  signals  to  nearest 

slave 
Slaves  proffer  chest 

Attendant  opens  it,  takes  coin, 

closes  it 
Gives  coin  to  Princess 

Princess  drops  coin  in  beg- 
gar's hand 

Princess  and  retinue  exit  at 
the  left 

Ghurri-Wurri  looks  at  coin, 
scrambles  to  his  feet,  looks 
after  Princess,  shakes  his 
fist,  starts  to  the  right, 
turns,  shakes  his  fist  again, 
exits  at  right,  raging. 

i8 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Cymbal  crash 


Cymbal  crash 


The  Pantomime^  etc. 

Lights  out 

In  the  darkness  Ghurri-Wurri 

crosses    to    left    of    stage, 

ready  for  Scene  III 

The  drop  is  lifted 
Lights  up 


SCENE   III  — 

[The  Wazir's  Garden  as  in  Scene  I] 

Wazir,    Vizier    and    Nubian 

asleep  as  before 
Ghurri-Wurri    enters    at    the 

left 

Prostrates  himself  before 
Wazir 

Wazir  and  Court  sleep  on 

Ghurri-JV urri   again   pros- 
trates himself 

The  Court  sleeps  on 

Ghurri-Wurri    slams    himself 
down  hard 

Wazir,  Vizier,  Nubian  awake 

Wazir  shakes  his  fist  at  the 
beggar 

Signals  Vizier 

Vizier  runs  thumb  along  his 
scimitar  blade 

Ghurri-Wurri  retreats  to  the 
right 

19 


Bass  chords 

Tap  on  drum 

Tap  on  drum 

Bass  chord 
Tap  on  drum 

Bass  chord 
Drum  crash 

Drum  crash 
Drum  roll 

Wood-block  tap 
Sand  blocks 

Tap 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Tap 

Tap,  tap 

Tap 

Tap 

Princess  rhythm 


Tap 


Drum  crash 
Drum  roll 

Tap 
Tap 

Tap 

Wazir  rhythm  on 
wood-drum. 
Telegraphically 

stated: 

etc. 


The  Pantomime^  etc. 

He  stumbles  over  the  tele- 
scope 

He  picks  it  up  and  hands  it 
to  the  Wazir 

Ghurri-JVurri  points  to  the 
"Distance" 

The  Wazir  uses  the  telescope 

The  "Distance"  is  revealed 
as  in  Scene  I 

Princess  and  retinue  are  seen 
traveling  [across  the  plat- 
form from  right  to  left] 

The  Wazir  lowers  the  tele- 
scope 

The  "Distance"  vanishes  as 
in  Scene  I 

Wazir  stamps  his  foot 

He  shakes  his  fists,  first  at  the 

"Distance,"  then  off  left 
Points  at  Ghurri-Wurri 

Vizier  seizes  Ghurri-Wurri  by 
the  scruff  of  the  neck 

Vizier  points  off  left  with  his 
scimitar 

The  Court  and  Ghurri-Wurri 
begin  to  run,  Nubian  first, 
then  Ghurri-Wurri,  then 
Vizier,  then  Wazir.  The 
running  is  entirely  vertical 
in  movement,  no  ground 
being  covered  at  all. 

20 


THE  SHEPHERD  IN  THE  DISTANCE 

The  Music  The  Pantomime^  etc. 

Musically,      ac-  Lights  out 

cented       eighth  [In  the  darkness,  the  runners 

notes     i  n     2/4  move    downstage    without 

time,  presto  losing  step.     A  plain  drop 

Cymbal  crash  is  lowered  behind  them] 

Cymbal  crash  Lights  on. 


SCENE    IV   — 

W  a  z  i  r  rhythm,  The  runners  increase  their 
crescendo  and  speed  throughout  the  scene 
acceleramento       Ghurri-fVurri     slips     to     his 

knees 
Vizier,  without  losing  a  step, 
jerks  him  back  on  his  feet 

Ghurri-Wurri,  pointing  left, 
resumes  running 

Wazir  points  left 

When  the  runners  have 
reached  their  maximum 
speed 

The  lights  go  out 

In  the  darkness  the  Wazir's 
court  and  Ghiirri-JVurri 
exit  and  take  their  places  at 
the  right  ready  for  Scene  V 

The  Shepherd  and  Goat  take 
their  places 

Lights  up 


Cymbal  crash 


Cymbal  crash 


21 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Wind  Instrument 


Begin  Princess 
rhythm 


Tap 

Tap 

Stringed       instru 
ment 

Drum    roll 
crescendo 


Princess  rhythm 

Tap 

Wazir  rhythm 

Tap 
Tap 


SCENE    V   

[A  plain  drop] 

The  Pantomime^  etc. 

The  Shepherd  is   discovered 

well  to  the  left,  piping  for 

the  Goat 
Goat  is  dancing 
Goat  stops  to  listen,  looks  off 

to  the  right 
Shepherd  looks  to  the  right 
Goat  crosses  to  extreme  right, 

bows 
Princess  and  retinue  enter 
They  halt 

The  Shepherd  kneels  to  the 
Princess,  then  dances  for 
her 

The  Goat  becomes  alarmed 
All  turn  and  look  to  the  right 
Goat,  on  all  fours,  offers  his 

back  to  the  Princess 
Shepherd  induces 
Princess  to  sit  on  Goat's  back 
Goat  exits,  followed  by  Prin- 
cess' retinue 
Shepherd  folds  his  arms 

Wazir's  Court  and  Ghurri- 
Wurri  enter  from  the  right 

They  halt 

Wazir  points  to  Shepherd 

2-2 


pp. 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

The  Pantomime^  etc. 

Tap 

Vizier  brandishes  his  scimitar 

Drum  roll 

Nubian  approaches  Shepherd 

Drum  crash 

Nubian  falls 

Drum  roll 

Wazir  shakes  his  fists 

Crescendo 

Points  at  Shepherd 

to 

Vizier  attacks  Shepherd  with 

scimitar 

Shepherd  grasps  scimitar 

They     struggle,     convention- 

ally, one,  two,  three,  four, 

five,  six 

Drum  crash 

The  Shepherd  falls 

Drum  roll 

The  Vizier  waves  his  scimitar 

aloft 

Drum  roll 

Wazir  exults 

Tap 

Nubian  rises 

Tap 

Wazir  points  to  the  right 

Tap 

Vizier    points    at    Shepherd 

with  scimitar 

Tap 

Nubian  seizes  the  Shepherd 

Wazir  rhythm 

Wazir' s  Court  and  Shepherd 

exit  at  the  right,  ignoring 

Ghurri-Wurri,  Nubian  and 

Shepherd  first,  then  Vizier, 

then  Wazir.     [All  cross  be- 

hind  the   drop   to   left   of 

stage  ready  for  Scene  VF 

Drum  crash 

Ghurri-Wurri  stamps  his  foot 

Drum  roll 

Shakes  his  fists  after  them 

23 

THE  SHEPHERD  IN  THE  DISTANCE 

The  Music  The  Pantomime^  etc. 

Drum  roll  Runs  to  left  and  shakes  his 

fists  at  the  Princess 

Drum  roll  Runs  to  right  and  shakes  them 

at  the  Wazir 

Runs  to  center  and  shakes 
them  at  the  audience 

Cymbal  crash  Lights  out 

Ghurri-Wurri  exits 
The  drop  is  raised 

Cymbal  crash  Lights  on 

SCENE    VI   — 

[The  Wazir's  garden.     No  characters  on  scene] 

Wazir  rhythm  Nubian  enters  from  left,  hold- 

ing the  Shepherd 

Wazir  and  Vizier  follow 

Tap  JVazir  takes  his  seat,  smirking 

Tap  Wazir  orders   Shepherd 

thrown  down  at  the  right 
Drum  crash  Nubian  complies 

Tap  Vizier  orders  Nubian  off  right 

Wazir  rhythm,   Nubian  hurries  out 
fast 

Wazir  rhythm,        Re-enters,  staggering  under 
slow  a    ball    and    chain    [the 

chain    of    papier-mache 
and  the  ball  a  balloon] 
Drum  crash  Drops  these  beside  the  Shep- 

herd 

24 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

The  Pantomime^  etc. 

Clank, 

clank 

Rivets    chain    to    Shepherd's 
leg 

Tap 

Rises 

Tap 

Vizier  orders  Nubian  off,  left 

Wazir 

rhythm 

Nubian  exits  left 

Tap 

Vizier  sits 

Tap 

PVazir  moves  a  chessman 

Tap 

Vizier  moves  a  chessman 

Tap 

Shepherd,  in  a  gesture  of  de- 
spair, finds  the  telescope 

He  looks  into  the  "Distance" 
"The  "Distance"  is  shown 
as  in  Scene  Y 

Stringed  music 

Princess  and  Goat  discovered 

in  conference,  Goat  has  an 

idea:     He    points    to    the 

Shepherd,  then  to  the  Wa- 

zir,  then  to   the   Princess, 

and    executes    an    ancient 

dance  movement,  which 

is    contemporaneously    de- 

scribed as  the  "shimmy" 

The  Princess  claps  her  hands 

and  exits,  followed  by  the 

Goat 

Tap 

Shepherd  lowers  the  t  e  1  e  - 
scope 

[The  "Distance"  vanishes] 

Tap 

Shepherd  is  puzzled 
25 

THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Stringed  music 


The  Pantomime^  etc. 

Princess  enters  from  the  left, 
veiled  and  carrying  a  scarf 
in  her  hands 

Goat  enters  with  her,  goes  at 
once  to  the  Shepherd 

Princess  poses  at  center 

JVazir  and  Vizier  turn,  smirk- 
ing 

Princess  dances 

Wazir  leers  and  strokes  his 
beard 

ends    dance    beside 


Chords,  agitato 

Sand  blocks 

Chords 

Sand  blocks 

Princess      rhythm 
on  wood  drum 


Tap 

Tap 

Princess  rhythm 


his   arms   with   her 
with 


Princess 
Vizier 

She   ties 

scarf 
Wazir    is    convulsed 

laughter 
Princess  binds  Wazir's  arms 

with  her  veil 
Vizier    is    convulsed    with 

laughter 
The   Attendant   enters   from 

the  left  with  a  box  on  which 

a  skull  and  cross-bones  are 

conspicuous 
Princess  takes  two  pills  from 

the  box 
She  pops  them  into  her  pris- 
oners' open  mouths 
The  Attendant  exits   as   she 

came 
26 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 

The  Pantomime^  etc. 

Sand  blocks 

Wazir    and    Vizier    swallow 

vigorously 

Drum  crash 

They  lay  their  heads  upon  the 

chess  table  and  die 

Tap 

Princess  beckons  to  the  Shep- 

herd 

Tap 

Shepherd  points  to  his  fetters 

Tap 

Goat   attacks   the   ball   and 

chain 

Drum  crash 

He   "bites"   the  ball    [bursts 

the  balloon] 

Tap 

He  "bites"  the  chain 

String  music 

Princess,  Shepherd  and  Goat 

dance  in  a  circle 

Lights  out 

Cymbal  crash 

Princess    and    Shepherd    and 

Goat  ready  at  left  for  next 

scene 

The  drop  is  lowered 

Cymbal  crash 

Lights  up 

SCENE   VII   — 

String  music 

Princess  and  Shepherd  dance 

Cymbal  crash 


across,  followed  by  the 
Goat,  who  is  playing  on  the 
Shepherd's  pipe 

Princess  and  Shepherd,  be- 
hind the  drop  take  their 
places  on  the  platform 

Lights  out 

[The  drop  Is  lifted] 
27 


THE  SHEPHERD  IN  THE  DISTANCE 


The  Music 
Cymbal  crash 


String  music 

Cymbal  crash 
Cymbal  crash 


The  Pantomime^  etc. 

Lights  on 

[The  Wazir's  garden  with 
the  middle  section  of  the 
drop  lifted  to  show  the 
"Distance"] 

Shepherd  and  Princess  discov- 
ered in  the  "Distance" 
posed  in  a  kiss 

Lights  out 

[The  drop  is  lowered] 

Lights  on 

The  Maker  of  Sounds  rises, 
yawns  cavernously,  bows 
very  slightly  and  exits 

[Curtain^ 


28 


The  Portmanteau  Plays 

BY  STUART  WALKER 

Edited  and  with  an  introduction  by  Edward  Hale  Bierstadt 


Brooklyn  Eagle:  "All  of  the  plays  in  these  attractive  maroon 
volumes  are  literary  without  being  pedantic,  and  dramatic  without 
being  noisy.  They  are  a  genuine  addition  to  the  steadily  growing  list  of 
worthwhile  plays  by  American  dramatists.  Stewart  &  Kidd  are  to  be  con- 
gratulated on  presenting  them  to  the  public  in  such  attractive  format." 

Vol.  1— Portmanteau  Plays 

Introduction 

The  Trimplet 

Nevertheless 

Six  Who  Pass  While  the  Lentils  Boil 

Medicine  Show 

Vol.  2 — More  Portmanteau  Plays 

Introduction 

The  Lady  of  the  Weeping  Willow  Tree 

The  Very  Naked  Boy 

Jonathan  Makes  a  Wish 

To  be  Issued  shortly 

Vol.  3— Portmanteau  Adaptations 

Introduction 

Gammer  Gurton's  Needle 

The  Birthday  of  the  Infanta 

"Seventeen" 

Each  of  the  above  volumes  handsomely  bound  and  illustrated. 
Per  volume  net,  in  Silk  Cloth  $2.50;  %  Turkey  Morocco  S8J0 


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A  Notable  Achievement 

European  Theories  of  the  Drama 

An  Anthology  of  Dramatic  Theory  and  Criticism  from 
Aristotle  to  the  Present  Day,  In  a  Series  of 
Selected   Texts,    With    Commentaries, 
Biographies  and  Bibliographies 

By  BARRETT  H.  CLARK 

author  of 

"Contemporary  French  Dramatists,"    "The  Conti- 
nental Drama  of  Today,"    "British  and 
American  Drama  of  Today,"  etc.,  etc. 

A  book  of  paramount  importance.  This  monumental  anthology 
brings  together  for  the  first  time  the  epoch-making  theories  and  criti- 
cisms of  the  drama  which  have  affected  our  civilisation  from  the  be- 
ginnings in  Greece  down  to  the  present  day.  Beginning  with  Aristotle, 
each  utterance  on  the  subject  has  been  chosen  with  reference  to  its 
importance,  and  its  effect  on  subsequent  dramatic  writing.  The  texts 
alone  would  be  of  great  interest  and  value,  but  the  author,  Barrett 
H.  Clark,  has  so  connected  each  period  by  means  of  inter-chapters 
that  his  comments  taken  as  a  whole  constitute  a  veritable  history  of 
dramatic  criticism,  in  which  each  text  bears  out  his  statements. 

Nowhere  else  is  so  important  a  body  of  doctrine  on  the  subject  of 
the  drama  to  be  obtained.  It  cannot  fail  to  appeal  to  anyone  who  is 
interested  in  the  theater,  and  will  be  indispensable  to  students. 

The  introduction  to  each  section  of  the  book  is  followed  by  an 
exhaustive  bibliography;  each  writer  whose  work  is  represented  is  made 
the  subject  of  a  brief  biography,  and  the  entire  volume  is  rendered 
doubly  valuable  by  the  index,  which  is  worked  out  in  great  detail. 

Prof.  Brander  Matthevs,  of  Columbia  University,  says:  "Mr. 
Clark  deserves  high  praise  for  the  careful  thoroughness  with  which 
he  has  performed  the  task  he  set  for  himself.  He  has  done  well  what 
was  well  worth  doing.  In  these  five  hundred  pages  he  has  extracted 
the  essence  of  several  five-foot  shelves.  His  anthology  will  be  in- 
valuable to  all  students  of  the  principles  of  play  making;  and  it  ought 
to  be  welcomed  by  all  those  whose  curiosity  has  been  aroused  by  the 
frequent  references  of  our  latter-day  theorists  of  the  theater  to  their 
predecessors  Aristotle  and  Horace,  Castelvetro  and  Scaliger,  Sidney 
and  Jonson,  d'Aubignac  and  Boileau,  Lessing  and  Schlegel,  Goethe 
and  Coleridge." 

Wm.  Lyon  Phelps,  of  Yale  University,  writes:  "Mr.  Clark's  book, 
'European  Theories  of  the  Drama,'  is  an  exceedingly  valuable  work 
and  ought  to  be  widely  useful." 

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Four  Plays  of  the  Free  Theater  : 

"The  Fossils,"  "The  Serenade," 

"Francoise'  Luck,"   "The  Dupe." 

Authorized    Translation  with   Introduction   by 

Barrett  H.  Clark 

The  Contents  of  this  Volume  are : 

Preface  by Brieux 

Antoine  and  the  Free  Theater,  by  Barrett  H.  Clark. 

The  Fossils,  by  Francois  de  Curel.  Rather  short  three-act 
play,  first  produced  in  1892.  Time,  the  present.  A  problem 
play  of  family  pride  and  desire  to  perpetuate  itself.  Characters: 
The  Duke  de  Chartmelle,  Robert  de  Chartmelle,  Nicolas, 
a  Farmer,  a  Country  Neighbor,  a  Servant,  Claire  de  Chart- 
melle, Helen  Vatrin,  a  Nun. 

The  Serenade,  by  Jean  JuUien,  a  Bourgeois  Study  in  three 
rather  short  acts;  first  produced  in  1887.  Characters:  Theo- 
dore Cottin,  Calixte  Poujade,  Maxine  Champanet,  Prosper 
Poujade,  Dumoulin,  Fournier,  Nathelie  Cottin,  Genevieve 
Cottin,  Celina  Roulard,  Leocadie,  Dumoulin,  Clemma,  Dodo. 

Francoise'  Luck,  by  Georges  de  Porto-Riche.  Medium  length, 
one-act  comedy;  first  produced  in  1888.  Characters:  Marcel 
Desroches,  Guerin,  Jean,  Francois,  Maseleine. 

The  Dupe,  by  Georges  Ancey,  a  comedy  in  five  short  acts; 
first  produced  in  1891.  Characters:  Albert,  Madame  Viot, 
Adele,  Marie. 

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SHORT   PLAYS 

By  MARY  MacMILLAN 

To  fill  a  long-felt  want.  All  have  been  successfully  pre- 
sented. Suitable  for  Women's  Clubs,  Girls'  Schools,  etc. 
While  elaborate  enough  for  big  presentation,  they  may  be 
given  very  simply. 

This  volume  contains  ten  Plays: 

The  Shadowed  Star  has  six  women,  one  boy;  may  all  be  taken 
by  women.  Time,  present.  Scene,  in  a  tenement  Christmas 
Eve.     One  act,  45  minutes. 

The  Ring.  Costume  play.  Time,  days  of  Shakespeare.  Three 
women,  seven  men.    Scene,  interior.    One  act,  45  minutes. 

The  Rose.  One  woman,  two  men.  Time,  Elizabethan.  Scene, 
castle  interior.    One  act,  30  minutes.    Song  introduced. 

Luck.  Four  short  acts.  Time,  present.  Interior  scene. 
Seven  women,  six  men.    Comedy. 

Entre'  Acte.  Costume  play.  Time,  present.  Scene,  interior. 
Two  women,  one  man.    Contains  a  song.    One  act. 

A  Woman  s  a  Woman  for  A'  That.  Time,  present.  Interior 
scene.  One  act,  45  minutes.  Three  women,  two  men.  Comedy. 

A  Fan  and  Two  Candlesticks.  Costume  play.  Colonial  times. 
Scene,  interior.  Two  men,  one  woman.  One  act,  20  to  30 
minutes.    Written  in  rhymed  couplets. 

A  Modern  Masque.  Time,  present.  Scene,  outdoors.  Fan- 
tastic, written  in  prose  and  verse.  Costume  play  in  one  act, 
30  minutes  or  more.    Four  women,  three  men. 

The  Futurists.  One-act  farce,  of  the  first  woman's  club  of  the 
early  eighties.    Interior.    Forty-five  minutes.    Eight  women. 

The  Gate  of  Wishes.  One-act  fantasy.  Outdoors.  Half  hour. 
One  girl,  one  man.    Singing  voices  of  fairies. 

Handsomely  bound  and  uniform  with  S.  &  K.  Dramatic  Series, 
izmo.   Cloth,  Net,  $2.30;   K  Turkey  Morocco,  Net,  $8.^0. 

STEWART   &   KIDD    COMPANY 

Publishers  Cincinnati,  U.  S.  A. 


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■•'"I 


MORE   SHORT   PLAYS 

By  MARY  MacMILLAN 


Plays  that  act  well  may  read  well.  Miss  MacMillan's 
Plays  are  good  reading.  Nor  is  literary  excellence  a  detriment 
to  dramatic  performance. 

This  volume  contains  eight  Plays: 

His  Second  Girl.  One-act  comedy,  just  before  the  Civil  War. 
Interior,  45  minutes.    Three  women,  three  men. 

At  the  Church  Door.  Fantastic  farce,  one  act,  20  to  30  minutes. 
Interior.    Present.    Two  women,  two  men. 

Honey.  Four  short  acts.  Present,  in  the  southern  mountains. 
Same  interior  cabin  scene  throughout.  Three  women,  one 
man,  two  girls. 

The  Dress  Rehearsal  of  Hamlet.  One-act  costume  farce. 
Present.  Interior.  Forty-five  minutes.  Ten  women  taking 
men's  parts. 

The  Pioneers.  Five  very  short  acts.  1791  in  Middle-West. 
Interior.    Four  men,  five  women,  five  children,  five  Indians. 

In  Mendelesia,  Part  I.  Costume  play,  Middle  Ages.  Interior. 
Thirty  minutes  or  more.    Four  women,  one  man-servant. 

In  Mendelesia,  Part  II.  Modern  realism  of  same  plot.  One 
act.  Present.  Interior.  Thirty  minutes.  Four  women,  one 
maid-servant. 

The  Dryad.  Fantasy  in  free  verse,  one  act.  Thirty  minutes. 
Outdoors.    Two  women,  one  man.    Present. 

These  plays,  as  well  as  SHORT  PLAYS,  have  been  pre- 
sented by  clubs  and  schools  in  Boston,  New  York,  Buffalo, 
Detroit,  Cleveland,  New  Orleans,  San  Francisco,  etc.,  and  by 
the  Portmanteau  Theatre,  the  Chicago  Art  Institute  Theatre, 
the  Denver  Little  Art  Theatre,  at  Carmel-by-the-Sea  in 
California,  etc. 

Handsomely  bound  and  uniform  with  S.  &  K.  Dramatic  Series. 
i2mo.     Cloth.     Net,  $2.^0;  }4  Turkey  Morocco,  Net,  $8.^0. 

STEWART   &   KIDD    COMPANY 


Publishers 


Cincinnati,  U.  S.  A. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  last  date  stamped  below. 


Form  L9-50»n-4,'61(B8994s4)444 

OTHERS  TO  FOLLOW 


STEWART  &  KIDD  COMPANY 

Publishers-  Cincinnati,  U.  S.  A. 


17*15  LlKKA«Jr 
trNTVERSlTY  0^  Ci«ayFORNUL 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


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